The narration isn’t so hot, but I’m not one to turn down footage of my beloved 550.
Update: Watching this again this morning, I particularly find hilarious the narrator’s insistance in saying “Five Hundred Fifty” and “Three Hundred Fifty-Six”. Does she refer to the 911 as the “Nine Hundred Eleven”?
Category: Classic Sportscar
Categories
Re-Inventing the Past
Contemporary Brazilian car designer Rafael Reston took on an interesting personal project wherein he asks the question: What would the ’60s ancestral origin of today’s Dodge Viper look like? It’s an interesting idea and makes this vintage sportscar fan wonder what might have been if the Corvette and Cobra had a direct competitor from Chrysler. I think it looks fantastic.
Rafael kept true to the technology and techniques common in the mid-60’s for his theoretical ’67 Viper so that this vehicle could have existed. He did make some logical deviations from the Viper’s hallmarks that might trouble a Viper fan, like substituting the Viper’s signature 10 cylinder with the more period-appropriate 440 Magnum engine that Chrysler used in the Charger R/T. The interior uses true-to-the-era leather and wood, but I find this to be the weakest link in the exercise and looks much more like a muscle car interior than a sportscar—although I feel the same way about 60’s Corvette interiors, so don’t take my word for it.
Rafael estimates the ’67 Viper would have been priced at $4110, putting it in direct competition with the Corvettes of the time. I wonder what one would fetch at Barrett-Jackson today?
Jalopnik has a huge gallery of renderings here.
That’s right friends. 296.
I know when we see “Dino”, we automatically think of the simply stunning 60s-70s mid-engined, Pininfarina designed, Dino 246, and with good reason; the 246 is an absolute masterpiece of automotive design. This Dino, however, is a bit earlier and every bit as beautiful. The 1959 296S Dino (chassis # 0746) has a fascinating history of her own to be proud of.
She debuted at the 1958 Silverstone race with racing’s best dressed driver Mike Hawthorn at the wheel pushing her hard to a 3rd place finish. Some sources, however, claim 0746 actually had an earlier race at the hands of Wolfgang Von Trips; finishing 3rd at the January, 1958 Nurburgring 1000km. In either event, the Scuderia quickly sold 0746 to retired racing driver, N.A.R.T. founder, and America’s first Ferrari distributor, Luigi Chinetti. Luigi soon had a handful of North American talent driving talent throughout the US and beyond. The car’s primary drivers in this era were Mexican phenoms the Rodriguez brothers, who had early success with 0746 in Nassau (1st and 2nd in various races that weekend) and Sebring (3rd).
Pedro Rodriguez, of course, went on to major international success as a Formula 1 driver for the Scuderia, Lotus, and BRM in various seasons from 1963-1971. He also won the LeMans 24 Hours race in 1968 with co-driver Lucien Bianchi in a Mk. I Ford GT-40. His brother, Ricardo, had his promising career tragically cut short in a fatal crash in 1962 during a practice session for the Mexican Grand Prix. Ricardo’s potential was staggering, barred by the LeMans officials from driving in 1958 because he was too young, Ricardo returned in ’59 to claim 2nd in an OSCA with co-driver André Pilette. A string of Formula 1 races for Ferrari followed, making Ricardo the youngest-ever Formula 1 driver at the time. He also claimed outright victory in a Ferrari Testa Rossa in the 1962 Targa Florio. With such an amazing string of successes, it’s all the sadder to think of the amazing career he might have had.
Following Luigi Chinetti’s stewardship of 0746, The car went on to further successes with American driver, George Constantine, who had top-five finishes with the car in three 1961 SCCA National races and won the 1961 Grand Prix Watkins Glen.
Today, UK dealer Duncan Hamilton offers Ferrari 296S #0746 in fantastic condition in her Rossa Corso N.A.R.T. livery. She’s a sight to behold. Included with the car are two of the underrated Ferrari V6s and wrapped in disc brakes all around. Sure, Ferrari means V12 to most, but I have an affinity for the early 6 and 8 bangers. She’s an absolute beauty and I hope to see her slicing around Goodwood or the Monterrey Historics soon.
Actually it means “little boat”; but still, have you ever seen a barchetta that wasn’t absolute beauty on wheels?
Take this 1949(!) Stanguellini Barchetta Sport Colli 1100 currently in the inventory of Digit Motorsport in Arizona. In a method that Carlo Abarth would perfect decades later, the car is based on a Fiat chassis with an 1100 cc Fiat motor—both heavily modified by the Stanguellini crew in Modena. This is a pure Mille Miglia machine, with FIA papers tracing it’s history all the way back to it’s 1948 build date.
While there doesn’t seem to be any specific provenance placing this car at the Mille or Targa Florio, it’s hard to imagine that it never competed in either. 1949 was, after all, very early in sportscar manufacturing. It may only make a whopping 60 horses, but I imagine the thrill is every bit as visceral as driving the latest from Lamborghini or Ferrari.
I fell in love with the barchettas fully and completely at this year’s Continental Grand Prix at Autobahn Country Club at the foot of a Siata 300 Barchetta. I could barely tear myself away from it. Is there any barchetta of any make that isn’t magnificent? The Ferrari 166MM. The Maserati A6. The OSCA MT-4. The Siata I love so dearly. Each deserving of their own posts in a future installment of The Chicane. Hmm.. that’s a good idea.
The early Italian carrozzerias had it right, small engine, small body, beautiful lines.
Don’t get me wrong, I like Rosso Corso as much as the next guy. Isn’t it a bit refreshing though, to see a classic Ferrari in a color other than red? This French racing blue 250 GT LWB on offer from Symbolic Motors looks fantastic with it’s tri-color French racing stripes. The long wheel base cars don’t seem to get as much respect as the ridiculously popular 250 SWB, the 250 GT California, and the later GTO; but the extra 8 inches hardly seems worth quibbling about when a car looks as absolutely fantastic as this.
Like all 250s, the Tour de France draws power from the Colombo designed 3-liter V12. Although restricting engine size in the wake of the tragedy at the ’55 Le Mans was a bit unpopular at the time, the engine is still impressive, drawing 240 hp in the early Tour de France configuration. This, coupled with the very lightweight body, allowed to 250 Ferraris to be strong GT competitors.
This car, chassis 508, is the 8th Tour de France of 9 bodied by Carozzeria Scaglietti using the original Pinin Farina designed body style. True to its name, gentleman racing driver Jacques Peron and his co-driver, Jacques Bertrammier, debuted #508 in the 5th annual Tour de France Auto, placing 8th. Peron continued to track the car, largely in mainland Europe, for another 2 years with fairly high levels of success. Notable races include wins at the ’56 Rallye des Forets, ’56 USA Cup at Montlhéry, ’57 Grand Prix of Paris, and what must have been an exotic rally indeed, the 1957 Rallye Allier in Algier.
After Peron returned the car to it’s lessor (who knew you could lease Ferraris in 1956?), the car was sold to Bruce Kessler in the States and dropped out of competition.
Damaged in the 1970’s the car sat dormant until a series of restorations in the 80’s and 90’s brought it to the concours quality you see today. 508 took 2nd in it’s class at the 2003 Concours at Pebble Beach and since then has been bouncing around from auction to auction.
There’s no question that the car is beautiful; and a 250GT is an impressive addition to any collection. I’d prefer the car’s interior was kept the original black in the restoration. And the current climate of 250GT sales is atmospheric, even for cars without long racing provenance (the ridiculous price brought in by the ex-James Coburn 250GT California comes to mind). I say that, of course, but if I had the funds I’d be jumping on the opportunity to put this amazing car in my garage. The car last sold for $4.5 Million; certainly a princely sum, but given recent 250 prices, I wouldn’t be terribly surprised if it breaks that price.
Here’s some footage of the ’56 Tour de France Auto. Keep your eyes peeled for #75—the number this car wore for the race.
George Lucas’ early love affair with racing cars is well known. As a young teenager, he aspired to become a racing driver himself. Until a near-fatal crash on a public road in his race-prepped Bianchina made him reconsider. Of course, that passion for auto racing comes through in his films, particularly American Graffitti, and several sequences of the Star Wars movies.
Here’s a nugget in the Lucas works that I hadn’t seen before Jalopnik posted about it today: A student film Lucas directed at USC in 1966. Filmed with a 14 person crew of students at Willow Springs, 1:42:08 features Peter Brock behind the wheel of a borrowed Lotus 23. Apparently George made such a pest of himself at Shelby’s shop that Brock finally agreed to take part in the film.
It’s beautifully shot, wonderfully minimal, and lacks any dialogue at all—Just let that Lotus do the talking.
Categories
1947 Cisitalia D46
Fantasy Junction is offering this 1947 Cisitalia D46 Monoposto racer. The middle of the 20th century had a lot of people comparing cars and airplanes; from Turbine powered cars to Tailfin madness. These frequent comparisons make it easy to dismiss any comparison between the two. This Cisitalia shows that the comparison was apt long before it was cliché. Just look at this thing, It’s a biplane on the ground, screaming through the turns like a barnstormer on display.
The joy of early aerodynamics is that it was largely guesswork or borrowed. Car manufacturers didn’t have wind tunnels, just a gut feeling of what felt right—which was surprisingly accurate. The only other source of aerodynamics cues were from the airplane industry. The Italians in particular excelled at taking their post-WWII airplane technology and adapting it for the ground (Vespa, anyone?).
The Cisitalia, or Consorzio Industriale Sportive Italia, was financed by Footballer turned textile and sporting goods manufacturer, Piero Dusio. Mr. Dusio had a long passion for motorsport, having competed in the Mille Miglia many times (taking a class victory in a Siata 500 in 1937). He also placed 6th in the 1936 Italian Grand Prix.
The D46 has a Fiat heart in the form of a race prepped Fiat 1100cc engine and Fiat suspension. Wrapped in this elegant Dante Giacosa designed body, the D46 was ready to take all comers in the highly competitive Voiturette class. This example is number 20 of approximately 30 D46s built, and among the very few to feature the expanded side fuel tanks shown here in chrome. The car has extensive race history in Europe and Australia before coming to the States for restoration in the 1980s. I love an inventory page that describes the car as “Pebble Beach ready”. With this Cisitalia, I believe it. Oh how I wish I could strap on a leather helmet and some goggles and tear around a wooded country road in this D46.
Dennis David has more information on the Cisitalia D46 on his Grand Prix Pages.
Categories
Paul’s New Vee
I mentioned in the recap of this year’s Elkhart Lake Vintage Festival that my friend Paul was looking for a vintage formula vee. He climbed in and out of as many different models of vee in attendance as possible, and got sage advice from the outstandingly friendly Vintage Vees contingent of the VSCDA. “What you really want is a Lynx B”, some would say. Others tried to sway him towards a Zinc. Even some of the Formcar guys tried to beckon him in; “Nothing can touch them in the wet”, they’d say.
So what does Paul do? He does the right thing and ignores them all when he finds a remarkable McNamara Sebring for sale a mere 20 blocks from his Minnesota house. I can’t say I blame him, the McNamara looks very good—more like a Formula Ford than a vee with that mysterious air opening at the nose. And the car came complete with a custom build trailer and second set of body work. There’s just no way to walk away from that.
Beyond the car itself are the bounty of stories that came from the wife and son of the previous owner. Several period photos of the car in action and several tales of the involvement of the former owner in the seminal years of Minnesota’s club racing scene.
Needless to say, I’ll be writing more about Paul’s new ride more in the coming months as we fit him to the car and get race-ready for spring. There’s not a huge amount to do; the car is in quite good shape just needs some modification to bring it back into Monoposto compliance. Stay tuned for the progress.
I’ll leave you now with a photo of Paul’s McNamara Sebring as she was raced in her earlier years (we think she’s number 12)
Feast your eyes on this remarkable little Abarth on offer from Automobiles Vanderveken Bruxelles. This Boano-bodied spyder looks every bit of intimidating, despite its diminutive stature of only 37 inches tall at the peak of the windscreen. The 2-tone paint accentuates the streamlined and purpose-built appearance all the more, emphasizing the incredible belt-line: Can you even call that a belt-line? knee line?
Placing an aluminum tonneau cover over the passenger seat is a sure win for any drop-top to increase its appeal in my book. The fact that this little racer has a completely separate opening in the bodywork for the passenger to sit in is downright fantastic. And bask in the delight of the twin exhaust pipes snaking their way out of the passenger side.
Sadly, 207A had little success on the racetrack—it lead its class at Sebring in ’55 until an illegal refueling stop disqualified the team. But every ounce of this car begs to be noticed on the track and off. I absolutely adore the spirit of these Abarths. Although as few as 10 207As were made, the idea of taking the fairly pedestrian Fiat 1100cc engine and wrapping it in this slippery, aquatic shape with Abarth’s famous tuning team squeezing every horse out of the power plant is the fantastic thing about body-on-frame design. Think of the top tuning houses today: the Spoons, Mugens, RUFs, and the like. Despite the endless effort of these facilities, unibody construction leaves the car’s appearance virtually unchanged once it leaves the garage. Body-on-frame allows for an endless stream of possibility to create one-off, coachbuilt specials like this amazing Abarth Corso Spyder Boano 207A.
You can read more about the history of this outstanding racecar at Ultimate Car Pages, including some photos of a 207A in action at the 2004 Zolder Historic Grand Prix. Below is just a taste. And as is so often the case, the mighty Etceterini is a deep well of information on this model in particular, and Abarth in general.